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15 terms

AP Music Theory Review Chp 7

Function and cadences
STUDY
PLAY
1,6
tonic function chords
2, 4
subdominant/predominant function chords
5,7(dim)
dominant function chords
4,7
tendency tones
1,3
resolution tones
more active
How does function change when a 7th is added?
V-I, V7-I; all chords in root position and tonic chord doubles the root in soprano
perfect authentic cadence (cases; conditions)
V-I, vii^o6-I, V7-I, vii^/o7-I; either chord inverted, tonic chord has 3 or 5 in soprano or leading tone substituting for V
imperfect authentic cadence (cases; conditions)
IV-I
plagal cadence ("amen")
V-vi
deceptive cadence
ends with V or V^7, commonly preceded by IV, ii, ii^6, vi
half cadence
iv^6-V in harmonic minor
Phrygian half cadence
stronger pull to tonic (b/c of dominant function seventh chord)
effect of V7 in PAC
unresolved, typically used in the middle of a melody
half cadence characteristics
I (i), V (v), vi (VI)
the only three possible chords a cadence can end with